For a man who built a career on his ability to be combative on television and yell on the floor of the U.S. House of Representatives, Anthony Weiner now lives a surprisingly placid life.
Sean Penn sat in front of me in history class, junior year at Santa Monica High School — the school rising on a hill with a quadrangle you see in ‘Rebel Without a Cause.’ He kept turning around to talk, the blue-eyed boy with all the questions. The younger, brown-eyed girl had all the answers — at least in history class. At 16, the existentialist devilish streak was already a mile wide. I got to know him well, coming of age.
Gervais, returning to host the Globes for the fourth time, riled up the audience with an opening monologue in which he called the A-list audience “disgusting, pill-popping, sexual deviant scum.”
Spoiler alert: It involves lying. Treating a Michael Bay film as if it’s a documentary with bearing on Hillary Clinton’s service as secretary of state doesn’t make a lot of sense. But that’s exactly what Kelly did.
The movie’s release — think reels of printed film and the red-carpet premieres of Hollywood yesteryear — requires special projectors, equipment and human operators.
The filmmaker went on to explain that he was at peace with everything despite dealing with the earlier breakup issues. The public was not.
Formal experimentation and challenging social commentary are the creative signatures of director Todd Haynes, a filmmaker whose central concern is oppressive moral authoritarianism on the lives of those who don’t conform to gendered or sexual expectations. In Carol,’ he puts forth a striking and distinctive vision.
The film Concussion, tracing a forensic pathologist’s quest to expose the truth about brain injuries in the NFL, casts a spotlight on an issue that has roiled America’s most popular sports league.
Five directors came together recently for The Envelope Animation Roundtable to tackle such topics as selling their ideas, letting the visuals tell the story and working with voice actors.
Stephen King’s most terrifying invention may be something much closer to home — a coarse, unstable demagogue who enters the political arena seemingly out of nowhere, rides a wave of populism to an unlikely White House victory, and raging with messianic self-regard incites a nuclear apocalypse. Sound at all familiar?
“The experience I had seeing ‘Star Wars’ for the first time was mind-blowing. Eleven is a great age to have your mind blown.” And now it’s Abrams’ turn to blow some minds.
If you thought the pre-release buzz about superhero movies was out of control, just put your ear to the Internet these days. That roaring sound is the online chatter over Star Wars: The Force Awakens.
In the new film, Rocky still ascends those steps. But he walks, he needs help. He has to take a breather. It is a soulful juxtaposition to his run up those same stairs when he was young, a moment of almost unbearable tenderness that reminds you just how long — and how short — is 39 years.
A theater critic can tell you the real reason Macbeth is cursed. Of all Shakespeare’s great tragedies, this is the one that most often disappoints onstage. But on-screen it doesn’t have the same jinxed reputation.
Creed, the latest installment in the Rocky saga, is like that aging fighter on the undercard who you hope can just hold his own and escape the ring with his life but you fear will get his lights knocked out. After all, this is the seventh film in a franchise that seemed to have run its course.
Home Alone has made enough hundreds of millions of dollars by now and solidified enough of a multigenerational fan base to survive the following review: to hell with it.
The trailblazer received an honorary Oscar at the Governors Awards on Saturday night, and in his acceptance speech, Lee as he describes it “let them have it,” once again.
James Bond, Sir Ian Fleming’s suavely ruthless assassin and persnickety orderer of drinks, came to light in the Cold War. Can it be that it was all so simple then? Or has time rewritten every line?
if we’ve learned anything about the Italian Stallion, it’s that whenever you think he’s down for the count, he somehow manages to get back on his feet.
When writing ‘Steve Jobs,’ Aaron Sorkin had no interest in the conventional elements of a biopic, which he calls “that cradle-to-grave structure where you land on a protagonist’s greatest hits.”
‘Truth’ is a movie curiously in conflict with itself. There is a constant shift between granular detail and big-picture sweep that the film never fully resolves.
Huey P. Newton and Eldridge Cleaver are dead, Bobby Seale is 78, Kathleen Cleaver is 70, the events that turned all of them into national figures are decades in the past. So how is it that ‘The Black Panthers: Vanguard of the Revolution’ comes off as the most relevant and contemporary of documentaries?
Gay Muslim filmmaker Parvez Sharma crossed several dangerous lines when documenting his 2010 hajj pilgrimage to Mecca on his iPhone for the newly released “A Sinner in Mecca.”